Etebs



(No Model.) 2 Sheets Sheet l.

B. S. MAITLAND.

APPARATUS FOR USE IN'STUDYING HARMONY. N0. 294,139. Patented Feb. 26, 1884.

WITN Essie'.

(No Modl.)v A 2 Sheets-Sheet 2. n

B. S. MAITLAND.

APPARATUS FOR USE IN STUDYING HARMONY.

N0. 294,139. Patented Peb. 26, 1884.

Wl-TNESSES; INVENTOR;

n @yn/u, m MMX UNITED Sri-iras Entrer-ir B'LIGH SIDENHAM MAITLAND, OF LONDON, EXGLANI).

APPARATUS FOP. USE EN STUOHNG HARMONY.

SPECIFICATION forming part of Letters Patent No. 294,139, dated February 2G, 1884.

Application filed October 22,1833. (No model.) Patented in England April 1G, 1833, No. 1,918.

odies, modulate, analyze, and effect other op-l erations in connection with the science of harmony-such, for instance, as iin ding any given chord in any key, giving the attendant keys to any tonic, transposing music, or giving intervals. My apparatus for these purposes is composed ot' a frame or board having a series of guides on or in which a corresponding number ot parallel slides, hereinafter described, are free to be moved independently up and down (or it might be across or in concentric circles within) the said frame or board, as required,according to the particular musical operation to be effected. Various means for moving the slides may be adopted-such, for example, as screws iitted in the frame and takinginto i'emale screws in the slides-so that the slides are moved up or down, according to the direction in which the screws are turned; but I prefer to arrange the slides, as hereinafter described, and shown in the annexed drawings, so that they can be slid up or down by hand. Four of the slides are chord-slides. Each of them is divided vertically into three parts-tor the tonic, dominant, and subdominant keys, respectively-and each of these three parts has tive vertical chord-lines, representing, respectively, first, the tonic or common chord 5 second, the `chords of the dominant seventh, ninth, eleventh, and thirteenth, the diminished seventh, and the minor ninth; third, the chords of the subdominant, added, substituted, and Xeapolitan sixth; fourth, the three forms of the chord of the augmented sixth; and,tiith,the augmented and diminished triad. vThese iive chord-lines bear certain arbitrary signs or marks (corresponding with signs or marks on a given guide or reference table, which is hereinafter given) representing the various chords according to the laws oi' harmony, as will be well understood by those conversant with the science'of harmony. Each chord-slide is also formed with horizon'- tal note-lines, corresponding with a chromatic scale on the iixed frame or board, and in connection with this chromatic scale are columns of notes in regular musical succession. Upon each ofthe chord-slides, near the middle, is a suitable device-such as a thick black lineto represent the tonic root (or lowest note) of the tonic chord, (which always appliesto the tonic Y key.) At the proper distance a little higher up is a device such as a double line, and when this line is placed on a major tonic key the relative minor to that key is indicated by the black line, and below the tonic root is a device such as a waved or zigzag line, and when this line is placed on a minor tonic key the relative major to that key is indicated by the black line. On the lines ofthe chromatic scale I make at each end a hole to receive a peg or pin, and I employ these pegs or pins in pairs connected together by wires, the pegs or pins consisting,by preference, simply ol" the ends of thewires turned down at right angles. Thus, when it is wished to harmonize on any given key, I insert pairs of pegs on the lines containing the notes or intervals ot' a chord accompanying a given note in the melody, so that by means of the connecting-wires which thus lie across the slides the binding-notes of this chord, in connection with the next chord accompanying another given note ofthe melody, can be seen. By binding-notes I mean notes which are common to the two chords.

In cases where it is desired to produce the chords, &c., in sound, I form holes in the notelines of the chromatic scale, and I apply to these holes buttons or knobs, which can be pressed down by the finger. Vhen' so pressed down, they act upon the valves of apertures, which are fitted with correspondingly-tuned reeds, in a wind box or chamber forming part of the apparatus; or the wires may be made to act upon tuned strings, or, instead of having the buttons or knobs on the note-lines of -the chromatic scale, thc arbitrary marks before described on the chord-slides may be in the form of buttons or knobs which, when pressed down, act upon the reed-valves through the intermediation of blades so placed crosswise of the frame or board below the slides that all the buttons in one note-line of the same chord-slide or pair oi' chord-slides will act upon the same blade, and consequently IOO p scales.

in conjunction with the interval-slide before gz 294. use

upon the same reed; but as this modification I c3 51 Dominant major ninth and diminished is complicated I do not recommend it.

.Although I have described that I employ four chord-slides, this number may be varied. For example, there may be only two chordslides; but the results desired could not be obtained so readily. In addition to the chord.

slides, I employ an interval-slide, which I divide vertically into five parts, forthe perfect, major, minor, augmented,and diminished intervals, respectively, and sometimes I Aadd a sixth part for the degrees of the scale used in transposing, Src. This interval-slide has notelines, which are marked according to the laws of harmony with the numeral names of the various intervals used in harmony. By altering the position of this slide relatively to one of the note-columns on the frame, the interval or, intervals built on any given note are ascertained, and by inverting` the apparatus the inversion of the interval is shown. I

also, in some cases, employ a scale-slide divided verticallyinto parts for, iirst, the major scale ascending and descending; second, the minor scale ascending; third, the minor scale descending, and three other forms of minor By altering the position of this slide described relatively to one of the note-columns on the frame, a transposition of any given scale or composition is obtained.

In the annexed drawings, Figurel is a plan or face view of my apparatus. Fig. 2 is a Section on the line l l, and Fig. 3 a fragmentary section on the line 2 2.

A A is the frame or board bearing a chromatic scale, B B. C C? C3 C* are four chordslides, free to be moved up and down upon the frame A. For this purpose each chordslide is formed with a slot, a, to slide on two screws, b b, in the frame A; or other means of guiding the slides in their movement may be adopted. Each of the chord-slides is divided vertically into three parts, D E F, of whichD in each slide represents the tonic key, E the dominant key, and F the subdominant key. Each of the three divisions D E F has ive vertical chord-lines, numbered l, 2, 3, 4, 5, which bear certain arbitrary signs or marks, as shown, representing thev various chords according to the laws vof harmony, these signs corresponding with the signs in the following guide or reference table, which in practice it willbewell to affix to the face of the frame or board A itself.

GUIDE OR REFERENCE TABLE.

Chord-Zine l.

lIonic or common chord.

i @t 0 Major common chord. @D O Minor common chord.

Chord-Zine 2.

@a O Dominant seventh. El Dominant major ninth and seventh on leading'note, maj or key (i).

seventh, or seventh on leading note, minor key (i), 9 El Dominant eleventh of major key. Q E @t Dominant eleventh of minor key. n @O Dominant thirteenth of major key. 6 E 9 Dominant thirteenth of minor key.

i Omit the root of dominant for seventh on leading note in major k'ey, and for diminished seventh, or seventh on leading note, minor key.

Chord-Zine 8.

@ll Major' subdominant chord. Cil O .Minor subdominant chord.

di es El Chords of the added and substituted ysixth QS). di O E3 Chord ofthe Neapolitan sixth Omit iifth of subdominant for substituted sixth and for Neapolitan sixth.

y Chord-Zine 4.

The three forms of the augmented sixth.

G3 Italian sixth. @e o French sixth. @a El German sixth.

C'hordlae 5.

O Gli Augmented triad. dll e Diminished or imperfect triad.

Other columns of IOO represent the relative major key to the minor tonic key. In line with the lines ofthe chromatic scale B, I make at each side a series of holes, ff, to receive pegs or pins on the ends of wires, as and for the purpose already herein explained. Fig. .trepresents apair of these pins, y g, and their connecting-wire l1, the whole consisting of a piece of wire turned down at the ends. t' /z are a series of buttons or knobs applied to holes in the note-lines of the chromatic scale B. Each of these buttons iis connected by a rod, k, to a lever, Z, carrying a valve, m. The valves m iit corresponding apertures, n, in a wind-box, o, having a like number of toned reeds, p. When one of the buttons i is pressed down by the ringer, its rod k acts on the lever Zand opens the valve m, so that air from the box o is allowed to escape by and sound the corresponding reed, p. Springs q and r, fitted, respectively, to the button z' and lever Z, return the parts to their normal positions when pressure is removed from the button. s is an air-inlet to the box o, and conin a similar manner to the chord-slides C C (3*. This slide H is divided vertically into six parts, respectively for the (irst) perfect, (seconth) major, (third,) minor, (fourtl'n) augmented and (fifth) diminished intervals, and (sixth) for the degrees of t-he scale used in transposing, or this last division may be omitted.

I is the scale-slide, likewisehereinbefore described, and capable of being moved up and down the trame A. like the other slides. Itis divided vertically into three parts, respectively for the major scale ascending and descending, the minor scale ascending, and the minor scale descending.

At Ii on the board orrfranie Ar is shown the order of sharps of the signature; at L, the order of iiats ofthe signature; at )I, the siguature in sharps, and at N the signature in lats. All these are not necessarily applied to the board A; but they should be where they can be easily referred to, so as to enable the apparatus to be most readily applied to the various musical operations for which it is intended.

In the chord-slides C C? C C a line above a note (thus, for instance,- indica-tes that that note has been raised a semitone, and a line below a note (Qu) indicates that that note has been lowered a semitone. Lines (full or dotted and not being note-lines) running from a note of one chord to a note ot'another chord show the progression and the resolution from the one chord to the other. The sign yi on the chord-slides indicates that the note which this sign represents is a repetition of a note-sign which is an octave above or below.

Such being the construction and arrangement ofthe apparatus, the harmonizing ofinelodies, modulations, analysis, and other like operations are etlccted by shiftingthe slides, orsoine of them, according to requirement, upon the frame or boardA, the respective positions of the slides relatively to each other and to thev note-columns G- producing and showing the desired result in connection with the guide or reference table hereinbeiore given, as will be well understood. I will give a few examples. If I wish to modulate from thekey otl Eb major to the key ot'E major, I place the tonicroot-that is to say, the line c of chord-slide C and the double line d of chord-slide Gi-on the note line E [7, thereby obtaining the tive attendant keys on Eb. I next place the tonic root (the line c) of chord-slide C and the double line d ot chordslide C* on the note-line E, thereby obtaining the tive attendant keys on Einajor. I next look at N, Fig. l, to see what is the signature of Eb major, when I iind that three tlats are required for the maj or key. I next look at L to rind their order, which is Bb, Ep,

and A57. I next look at M, Fig. l, for the signature of Eli, which I find to be four Sharps,

the order of which is shown at K to be Ft?, Op?, Gti, and Dit. After having marked my signature of E 7, I take down the major tonic or common chord belonging to the tonic key of slide C, or Eb, (presumin g that I am modu- C2 I lating from the tonic chord,) which is done by referring to chord-line I in the reference-table, and using only the signs which form the major tonic or common chord. I begin at the bottom of the chord-line l ot' the tonic key of chord-slidc C. I write down the sounds on which these signs {alt-viz., i257, G, and B55, and the octave, if necessary, of Eb. I next look to see if any ofthe sounds E ty, G, Bb are contained in the dominant chord (not the dominant key) ot E tl, (chord-slide CSQ-namely, any note or notes on the same note-line. I iind ou the note-line on the dominant chord (tonic key) of slide C* a small X, (showing that the note is repeated an octave above or below the Dit ofthe dominant chord ofthe tonic key of Eb in slide C2) there being no Fly in the key of I5 which is changed according to the signature to D (In strict theory, E'p and D are two distinct sounds, but they are so nearly alike that since the introduction ot tempered instruments-such as the piano-they have been regarded as the same sound.) I therefore take D; as the highest note, forcontrapuntal reasons-z'. c., it'atone or note occurs in both of two chords which are to be connected, it is to be retained in the same voice, a voice being equivalent to p art. (Bichterislianual or" Harmony.) I then take down the lowest note of the dominant chord ofE-the tonic keyhand build the chord I3, F it, A, B, and D-the highest note. (I omit the I) is? in the lower part ofthe chord, because the third of a chord, if major, must not be doubled, which it would be it placed in the lower part of the chord.) This being done, I follow the lines of resolution which lead from the dominant chord (line 2) to the tonic chord, (line 3,) both of the tonic key of IE'; on ehord-slide G3, which resolve as follows: rIhe root goes to the root E l. (All roots can resolve to roots.) rIlle D :jgoes to Ez.. Fi?, having no resolutionline, can go to either Et, or Gti?. The A?, gots to Gili, and B-tho octave ofthe rootgoes to B.

Erampc.

tain the saine end. It sometimes occurs that no note exists connecting thetwo chords. In this case the assistance of another chord, or even of an attendant key, is called in, and one works in' the same way as above through that key. In harnionizing, instead of modulating from one key to another, I modulate or pa'ss from one chord to another. Say, forinstance, I wish to harmonize God Save the Queen/7 the melody being given in Ely, I place the IOO IIO

, tonic rootthat is, the line c of slide and fore I use that chord which has most notes in common with the chord of Ep, but containing the note Fb in it. I find that chord to be the tonic chord of the key of 0 minor, (slide 02,) the relative minor of the key of Ep, because it has Ep and Gt; common to both chords; therefore I write down that chord. The third note of the melody being F, I again, as'before, move to a chord having F contained in it and either of the notes 0, El?, G contained in it. This I find in the chord of the substituted sixth of the tonic key, (line 3, slide 0,) it having F for the melody and 0 of the preceding chord. I write down the chord of the substituted sixth. The iirst note f the next bar is D. Then, as before, I take the chord containing the note D, as well as AP), 0, or F of the lastchord. I find that the dominant seventh (ofthe tonic key of Eb) has D of the melody and F and A'p of the last chord. I therefore write down that chord, but to avoid the false progression before mentioned, I omit the F, which, although it must exist in the chord, need not always be expressed. The second note of the second bar of the melody is E'p. Here I can either resolve to the tonic of Eb, or, as before, take another chord with the Elyof the melody and either ofthe notes B b, D, F, or Ab. For a better progression in the bass, particularly as here the E b does not end a theme, I use the subdominant chord, (of the key of Ely, line 3, Slide 0,) it having Ebof the melody and Ap common to the last chord 5 therefore I write that chord. The third note of the second bar ofthe inelodyis F. Then, as before, I take a chord with F in it, also, either ofthe notes A k7, 0, or E b. I find that the dominant seventh of the tonic key (line 2, chord-slide 0') contains F of the melody and Ab ofthe last chord. I thereforeuse that chord in its first linversion to avoid consecutive Aoct-aves with alto part, and so on to the end, avoiding consecutives, &c., and ending the theme on the tonic chord uninverted.

Should the major key of slide 0 become a minor key, the zigzag line e of slide 03 is placed on its tonic root, giving, of course, the relative maj or keys of slide 0 as a minor key. In the same way, if slide 02 becomes major, the double line (Z of slide 0` is placed on the same note-line as the tonic root c of slide 02, giving in the same way the relative minors of slide 0" as a major key. To analyze, (after having set the instrument as before,) I take the first chord of a composition and find the same on the chord-slide. and so on, marking their resolutions, &c. If I wish to transpose from 0 to D, for example, I place the perfect I of the interval-slide II on 0, and the root of the scale-slide I on D. Vherevcr I see a note of the melody to be transposed on the slide I-I, I take the same interval on slide I, which will be the note to which the melody has to be transposed.

lVhatI claim, and desire to secure by Letters Patent, is-

l. An apparatus to be employed in the study of the science of harmony, comprising a frame'or board bearing a chromatic scale, and four or other number of chord-slides to move on the said frame or board, these slides being each divided vertically into three parts, and each of these parts having vertical chordlines, and each slide bearing arbitrary signs, (to correspond with a guide or reference table,) and having a-lso devices to represent, respectively, the tonie root, the relative minor key to a major tonic key, and the relative major key to the minor tonic key, all substantially as and for the purposes herein' set forth.

2. An apparatus to be employed in the study of the science of harmony, comprising the -frame or board A, bearing a chromatic scale, B, and the chord-slides 0 02 03 0", having the holes ff in line with the note-lines of the chromatic scale, in combination with pegs or pins g g, to fit in said holes, and wires h, to connect said pins g g, as andcfor the purpose set forth. i

3. An apparatus to be .employed in the study of the science of harmony, comprising a frame or board, A, bearing a chromatic scale, B, the chord-slides 0 02 03 0*, and a wind-box containing a number of tuned reeds, the valves connected with these reeds being operated by buttons or knobs on or in line with the note-lines of the chromatic scale,'said parts being arranged and constructed substantially as and for the purpose set forth.

4. The combination,with the frame or board A, bearing the chromatic scale B, of the chordslides 0 02 0z 0* and interval-slide H, as and for the purpose set forth.

5. The combinatiomwith the frame or board A, bearing the chromatic scale, of the chordslides 0 02 0:i 0*, interval-slide II, and scaleslide I, as and for the purpose set forth.

In witness whereof I have hereunto signed my name in the presence of two subscribing witnesses.

Witnesses: BLIGll SIDESHAM MAITLAND.

JOHN 0. NEWBURN, Gnonen 0. BACON.

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